DAVID JOSEPH, thanks to moody white labels, has overnight become London’s biggest disco seller — and was even used as musical accompaniment for Jackie Genova’s aerobic dancing session on TV-AM’s Saturday ‘Good Morning Britain’! . . . David PA’s at Mayfair’s Gullivers this Saturday (12), where your own James Hamilton starts reviving class soul oldies in the downstairs room every Friday . . . Streetwave’s version of the Band AKA II will just be the vocal version as already available, flipped by the instrumental but seguing at the end into ‘Grace’ — what a wasted opportunity . . . Sunfire ‘Young Free & Single’ / ‘Step In The Light’ will be on UK 12in soon . . . Chris Hill has talked Atlantic into editing together both parts of Beginning Of The End ‘Funky Nassau’ for 12in . . . Jerry Knight ‘She’s Got To Be (A Dancer)‘ / ‘Fire‘ is now on US 12in (A&M SP-12056), but ‘I’m Down For That‘ has come through here as his LP’s monster . . . Cloud has been snapped up by Silvertown from its original Rygel label . . . RCA seems to have the revived Laurie label here, so can Jazzy Dee be far from UK release? . . . Chi-Lites (including Eugene Record) are now on Larc, which looks like joining HighRise, HCRC and Beverly Glen Music among the new breed of consistent US soul labels . . . Morgan Khan, with an independent air, has let Orin Cozier leave Streetwave to form his own video firm — incidentally, ‘Street Sounds — Edition 2‘ is “as advertised on TV” (several spots during ‘The Tube’) . . . Edgbaston Faces Alan ‘Gibbo’ Gibson has joined the Bacchus DJ team to take over at Oslo’s Leopard from Alan James Jewell, who in turn writes from his own new Bangkok Oriental Hotel’s Dianna’s residency that the temperature’s 95 degrees and he’s got everyone in the club dancing on the speakers, bar and even amp rack! . . . Davy D is rumoured to be scratching for real after his UK visit! . . . Robbie Vincent’s Saturday lunchtime Radio London soul show could well become even more influential in the imminent future . . . The Gap Band, like bespangled ANZAC refugees from Gallipoli, had sound problems at Hammersmith but were especially good on slower material — and couldn’t tempt Michael Jackson from his heavily disguised position amidst the audience! . . . Mayfair’s Gullivers, full anyway, then got bursting when the entire apres gig Total Experience crowd crammed into the club, making some people so excited that even Lenny Henry was being asked for autographs! . . . John ‘Nick’ Osborne’s Tuesday jazz-funk sessions at Ilford’s Room At The Top next week (15) start a season of appearances by Jeff Young alternating with Steve Walsh . . . Greg Edwards & Froggy celebrate Valentine’s night on Monday (14) at Epping Forest Country Club near Abridge . . . Chris Paul & George Alexander have Valentine’s a day late on Tuesday (15) at South Harrow Bogarts, then on Wednesday (16) start fusion funking Southall Barbarella’s weekly . . . Steve Jackson lets in ladies for free before 11pm at Soho Whisky A Go Go’s Friday funk club . . . Simon Scott (Mile End Benjy’s) infos that Sharon Redd’s debut oldie, Front Page ‘Love Insurance‘, is about on a bootleg . . . Adrian (Bournemouth Adams) vari-mixes Motion ‘Don’t Stop’ and Sylvester ‘Don’t Stop’ so nobody notices the difference . . . Rayners Lane’s Record & Disco Centre is suddenly selling Stone’s old ‘Time‘ by the box load — wonder why? . . . Hot Chocolate have gone into motor racing, sponsoring a Van Deiman ’83 Formula Ford driven by “most promising” Tony Chambers . . . Elaine Paige? — I thought ‘Live From Her Majesty’s’ was meant to be a starring showcase exclusively for black ladies! . . . Mahogany is 109-108½-108-108½-108bpm, Ellis Hall Jr 0-32/64½bpm, The Biz Instrumental 113-112½bpm, Walter Jackson 106½/53-107bpm, Cloud 121-119-121 119-121-119-lull-119-124-123bpm, and Lionel Richie is ‘Hill Street Blues’-ish! . . . Liverpool’s Gary Allan says, “Gis a promo, go on, I can play that, give us one!” . . . DUB TIME!

JOHNNY CHINGAS: ‘Phone Home’ (CBS A13-3121).
Immediately monstrous on import though still sometimes tricky to slot in, this superior ‘E.T.’ tune starts atmospherically with night time sounds of the forest before jazzy synth and Timmy Thomas-type rhythm box weave a subtle 117½bpm 12in intensity through “phone home” groans, soft vocal bursts and some acid guitar (instrumental flip). Once on radio it’ll be a smash!

C-BRAND: ‘Wired For Games’ (US Spring SP D 408).
Atmosphere laden gradually building great subtle jittery pushing 116-114½bpm 12in groove with clanking guitar and resonant tones behind eventual muttering and crooning fellahs interspersed by Smurf-type gibbering: the Astronawts synch out perfectly — but this is not itself electrophonic at all, and as if to emphasise the human involvement it’s flipped not by an instrumental but by the soulfully doodling slow 89/44½bpm ‘Plenty Of Love’. (Do not confuse with C-Bank!).

INNER LIFE: ‘I Like It Like That’ (US Salsoul SG 392).
Shep Pettibone remixed tappingly introed long lead up with a little Latin piano amidst the beat to the exciting chix squawked 118-117bpm pounding bounder, on 3-track 12in with short and instrumental versions, likely to be big.

KASHIF: ‘I Just Gotta Have You (Lover Turn Me On)’ (US Arista CP 728).
The review around which revolved so many of my remarks last week was somehow not printed! Anyway, Kashif in his own vocal debut comes across like a younger Luther Vandross doing his utmost not to sing the words of ‘Love Come Down’ to a spacious coolly burbling 117½bpm 12in backing track which sounds just as you’d expect, with everything under careful control and not a trace of stray emotion or unseemly sweat (instrumental flip).

GOLDIE ALEXANDER: ‘Knocking Down Love’ (Canadian CBS 12C5-4331).
Good simple sax kicks off and punctuates the very soulful Mr Alexander’s welcome return on a nicely uncluttered 120-121-122-122½bpm acapella finished briskly loping 12in swayer (instrumental flip), with a strong flavour of the Band AKA.

THE SALSOUL ORCHESTRA: ‘Ooh I love It (Love Break)’ (US Salsoul SG 391).
Vince Montana’s 1975-recorded old track re-edited, arranged and mixed into three new versions on 12in so that it’s almost a cross between ‘Heavy Vibes’ (same bass) and ‘Mysteries Of The World’ — but not as strong as either — the most usefully ‘Heavy’ being the 114-117-115-117-118-119-120bpm ‘Love Break Version’, while ‘Love Break Groove‘ is a sleek basic 0-117-119-120-0bpm instrumental and the main 115-116-115½-116-117 (“love break”)-118-117-119-120bpm A-side still has now possibly too much of the dated chix.

GREG KIHN BAND: ‘Jeopardy’ (US Beserkley 0-67932).
Good forceful ominous 111bpm 12in chugger by the rock singer, now in a Hall & Oates-ish blue-eyed bag, the more broken up semi-instrumental flip especially being useful for funk jocks — I slotted it (briefly) between Mahogany and Imagination’s remix.

PEECH BOYS: ‘Life Is Something Special’ (Island 12WIP 6846).
Erratically greeted on import (when it was as by New York Citi Peech Boys), this disjointedly starting hard to mix 110bpm 12in Larry Levan creation is very different from ‘Don’t Make Me Wait’, building remorseless intensity through War-like tribal ‘Roots’ chanting over a throbbing non-electrophonic rhythm — the ‘Special Edition’ flip being less vocal and more subduedly electronic.

TANIA MARIA: ‘Lost In Amazonia’ (LP ‘Come With Me’ US Concord Jazz Picante CJP 200).
Good predictably specialist keyboards and scatting Latin jazz set with frantic flying rhythms and sultry slow sambas aplenty, though for more general use the really beautiful sinuously nagging 95-94-95-97bpm title track jogger should not be overlooked and is highly recommended, while this bass snapped jaunty 115-119-0-121-120bpm skipper is the most accessible of the jazzers.

UNLIMITED TOUCH: ‘Yes, We’re Ready!’ LP (US Prelude PRL 14108).
Rather routine datedly cliched set by the chix-led group, the straightforward 116(start)-118-119-118bpm ‘Good Lovin’ and 116-117bpm ‘No One Can Love Me (Quite The Way) You Do‘ being the best of the unadventurous smackers while the 131bpm title track’s 130bpm ‘Reprise‘ is swamped in undanceable synth. Secret Weapon’s new set on Prelude is very ordinary too, disappointingly for the label.

CRASH CREW: ‘Breaking Bells’ (US Sugarhill SH-595).
Subtitled ‘(Take Me To The Mardi Gras)’ and the entire thing credited to Paul Simon as composer/publisher, though even he would be hard pressed to recognise his own tune, this staccato choppily jerking 100bpm 12in vocal interplay rapper owes nothing to the original words.